Artist in Residence: Rehema Chachage
- Authors: Chachage, Rehema
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146479 , vital:38529 , https://www.ru.ac.za/artsofafrica/exhibitionsperformances/inzwi/
- Description: Inzwi! was an art event during the 2017 National Arts Festival in Grahamstown that celebrated the 5th anniversary of the Lucid Lunchbox, a student-led series of talks linked to the Arts of Africa and Global Souths research programme at Rhodes University. During the festival, five sets composed of three videos interjected the talks presented by Dineo Seshee Bopape and Beth Diane Armstrong, as well as a conversation between Andrew Tshabangu, Thembinkosi Goniwe and Philiswa Lila. The event intended to trigger reflection and dialogue, through a ‘wake-up call’ to grapple with our collective heritage and struggles, our fears and points of departure in order to envision futures. The selection of videos drew from the work of Rhodes Fine Art students, Alumni and Artists in Residence. Works on display addressed matters of identity (social, political and/or fictional); social engagement and activism; religious and spiritual practices in African contexts; race and white supremacy; and, finally, patronising relations in the art world. Borrowing from the words of Weléla Mar Kindred, the choreography of this event, like others that have been propelling black body politics in recent movements, is one of "communal healing, strength and solidarity".
- Full Text:
- Date Issued: 2017
- Authors: Chachage, Rehema
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146479 , vital:38529 , https://www.ru.ac.za/artsofafrica/exhibitionsperformances/inzwi/
- Description: Inzwi! was an art event during the 2017 National Arts Festival in Grahamstown that celebrated the 5th anniversary of the Lucid Lunchbox, a student-led series of talks linked to the Arts of Africa and Global Souths research programme at Rhodes University. During the festival, five sets composed of three videos interjected the talks presented by Dineo Seshee Bopape and Beth Diane Armstrong, as well as a conversation between Andrew Tshabangu, Thembinkosi Goniwe and Philiswa Lila. The event intended to trigger reflection and dialogue, through a ‘wake-up call’ to grapple with our collective heritage and struggles, our fears and points of departure in order to envision futures. The selection of videos drew from the work of Rhodes Fine Art students, Alumni and Artists in Residence. Works on display addressed matters of identity (social, political and/or fictional); social engagement and activism; religious and spiritual practices in African contexts; race and white supremacy; and, finally, patronising relations in the art world. Borrowing from the words of Weléla Mar Kindred, the choreography of this event, like others that have been propelling black body politics in recent movements, is one of "communal healing, strength and solidarity".
- Full Text:
- Date Issued: 2017
Reaching sideways, writing our ways: the orientation of the arts of Africa discourse
- Simbao, Ruth K, Miko, William B, Ijisakin, Eyitayo T, Tchibozo, Romuald, Hwati, Masimba, NG-Yang, Kristin, Mudekereza, Patrick, Nalubowa, Aidah, Hyacinthe. Genevieve, Jason, Lee-Roy, Abdou, Eman, Chachage, Rehema, Tumusiime, Amanda, Sousa, Suzana, Muchemwa, Fadzai
- Authors: Simbao, Ruth K , Miko, William B , Ijisakin, Eyitayo T , Tchibozo, Romuald , Hwati, Masimba , NG-Yang, Kristin , Mudekereza, Patrick , Nalubowa, Aidah , Hyacinthe. Genevieve , Jason, Lee-Roy , Abdou, Eman , Chachage, Rehema , Tumusiime, Amanda , Sousa, Suzana , Muchemwa, Fadzai
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145886 , vital:38475 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00341
- Description: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodically interrupted by unsolicited noise, revealing the difficulty of relating to others when sound is interrupted or there is an absence of voice. Voice, writes Chachage, is a “prerequisite for interlocution and the construction of discourse.” This work engages with the assertion that to “live means to participate in dialogue: to ask questions, to heed, to respond, to agree …” and to do so full heartedly with your “eyes, lips, hands, soul, spirit … whole body and deeds” (Bakhtin 1984:293).
- Full Text:
- Date Issued: 2017
- Authors: Simbao, Ruth K , Miko, William B , Ijisakin, Eyitayo T , Tchibozo, Romuald , Hwati, Masimba , NG-Yang, Kristin , Mudekereza, Patrick , Nalubowa, Aidah , Hyacinthe. Genevieve , Jason, Lee-Roy , Abdou, Eman , Chachage, Rehema , Tumusiime, Amanda , Sousa, Suzana , Muchemwa, Fadzai
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145886 , vital:38475 , https://0-doi.org.wam.seals.ac.za/10.1162/AFAR_a_00341
- Description: In Rehema Chachage's video installation, Kwa Baba Rithi Undugu (2010), sculptural objects representing old-fashioned transistor radios are mounted on the wall, side by side (Fig. 1). Embedded in each radio is a small video screen, which reveals a figure who stands in one place while the vertical line of the radio tuner crosses her body in search of the desired frequency (Figs. 2–3). A man's voice wafts in and out as it is periodically interrupted by unsolicited noise, revealing the difficulty of relating to others when sound is interrupted or there is an absence of voice. Voice, writes Chachage, is a “prerequisite for interlocution and the construction of discourse.” This work engages with the assertion that to “live means to participate in dialogue: to ask questions, to heed, to respond, to agree …” and to do so full heartedly with your “eyes, lips, hands, soul, spirit … whole body and deeds” (Bakhtin 1984:293).
- Full Text:
- Date Issued: 2017
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